TY  - CONF
AU  - Ereš, Davor
PY  - 2024
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3785
AB  - The paper discuss the methodological turn that was brought by the pedagogical practice
of Josef Albers at the Bauhaus from 1923 to 1933. This period is observed as the formative
platform of Albers’ teaching model, which generated all his later artistic and pedagogical
engagements. Although Albers’ courses were part of the training in a design-art school that changed
its curricula several times over ten years, the emphasis here is placed on the intention of the
Bauhaus to conceive design education as an (interdisciplinary) collaboration and as an anticipation
of a new form of creativity directed toward the building “that would embrace architecture and
sculpture and painting in one unity.” Albers taught the preliminary course (Vorkurs) that preceded
the craft-studies workshops and was intended to prepare students for the “conscious” treatment
of materials. The written reflections on learning methods, which Albers developed while teaching
in Vorkurs, expose the key notions of his forward-thinking pedagogical approach that is situated
between material form, design education and architecture.
PB  - Kunstgeschichtliches Institut der Ruhr-Universität Bochum, Josef Albers Museum Quadrat Bottrop
C3  - Situation Kunst (für Max Imdahl) Nevelstr. 29 c, 44795 Bochum-Weitmar
T1  - Josef Albers’ Methodology 'Learning through Conscious Practice' As a Teaching Form for Education in Architecture
SP  - 2
EP  - 3
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3785
ER  - 

@conference{
author = "Ereš, Davor",
year = "2024",
abstract = "The paper discuss the methodological turn that was brought by the pedagogical practice
of Josef Albers at the Bauhaus from 1923 to 1933. This period is observed as the formative
platform of Albers’ teaching model, which generated all his later artistic and pedagogical
engagements. Although Albers’ courses were part of the training in a design-art school that changed
its curricula several times over ten years, the emphasis here is placed on the intention of the
Bauhaus to conceive design education as an (interdisciplinary) collaboration and as an anticipation
of a new form of creativity directed toward the building “that would embrace architecture and
sculpture and painting in one unity.” Albers taught the preliminary course (Vorkurs) that preceded
the craft-studies workshops and was intended to prepare students for the “conscious” treatment
of materials. The written reflections on learning methods, which Albers developed while teaching
in Vorkurs, expose the key notions of his forward-thinking pedagogical approach that is situated
between material form, design education and architecture.",
publisher = "Kunstgeschichtliches Institut der Ruhr-Universität Bochum, Josef Albers Museum Quadrat Bottrop",
journal = "Situation Kunst (für Max Imdahl) Nevelstr. 29 c, 44795 Bochum-Weitmar",
title = "Josef Albers’ Methodology 'Learning through Conscious Practice' As a Teaching Form for Education in Architecture",
pages = "2-3",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3785"
}

Ereš, D.. (2024). Josef Albers’ Methodology 'Learning through Conscious Practice' As a Teaching Form for Education in Architecture. in Situation Kunst (für Max Imdahl) Nevelstr. 29 c, 44795 Bochum-Weitmar
Kunstgeschichtliches Institut der Ruhr-Universität Bochum, Josef Albers Museum Quadrat Bottrop., 2-3.
https://hdl.handle.net/21.15107/rcub_rifdt_3785

Ereš D. Josef Albers’ Methodology 'Learning through Conscious Practice' As a Teaching Form for Education in Architecture. in Situation Kunst (für Max Imdahl) Nevelstr. 29 c, 44795 Bochum-Weitmar. 2024;:2-3.
https://hdl.handle.net/21.15107/rcub_rifdt_3785 .

Ereš, Davor, "Josef Albers’ Methodology 'Learning through Conscious Practice' As a Teaching Form for Education in Architecture" in Situation Kunst (für Max Imdahl) Nevelstr. 29 c, 44795 Bochum-Weitmar (2024):2-3,
https://hdl.handle.net/21.15107/rcub_rifdt_3785 .

TY  - CONF
AU  - Mađanović, Milica
AU  - Ereš, Davor
PY  - 2023-12-28
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3751
AB  - The New Architecture of the Palace of Justice in Belgrade:
Remodeling the Serbian Built Environment Towards the Spaces of Inclusivity

Milica Mađanović, Institute for Philosphy and Social Theory, University of Belgrade
Davor Ereš, Institute for Philosphy and Social Theory, University of Belgrade

For decades, the issue of accessibility of the built environment remains one of the key topics
in the societies focused on creation of equitable spaces, appropriate for use of all their citizens. The
Serbian Planning and Construction Law recognizes the necessity of accessibility standards, issuing the
set of accessibility norms and defining them as mandatory technical measures, standards and
conditions of design, planning and construction that ensure unhindered movement and access for
people with disabilities, children and the elderly.
In response to the Reworking architecture/ city thematic stream, this paper aims to explore how
can the remodeling of built environment, more specifically, public buildings, enhance their
functionality for the people for mobility impairments. To do so, it will analyze the case study the
reconstruction (arch. Z. Abadić) of the Palace of Justice in Serbia, a masterpiece originally constructed
in 1973 (architects Z. Žunković and M. Živadinović). The largest judicial facility in Serbia, housing
The High Court in Belgrade, the Chief Public Prosecutor's Office, the criminal department of the
Second Court in Belgrade and the Second Prosecutor's Office, the Palace of Justice was fully renovated
in 2019.
This paper will focus on a specific aspect of the building’s remodeling approach which was
least discussed in terms of architectural contemporaneity – its accessibility. The research discusses the
design strategies employed to make the building accessible to the citizens with mobility impairments.
The paper will answer the following questions – what was successful about the particular design
decisions regarding the Palace of Justice’s accessibility, what could have been done differently – and
why. Ultimately, the paper implores the necessity of reworking Serbian architecture – and public
spaces – to transform them into inclusive environment that could be equally enjoyed by all its citizens.

Keywords: accessibility, Palace of Justice in Belgrade, remodeling, inclusive spaces,
movement equality
PB  - STRAND – Sustainable Urban Society Association
C3  - “On Architecture – Challenges in Design” Conference Proceedings,  The Serbian Academy of Sciences and Arts, Gallery of Science and Technology and Rectorate of the University of Belgrade in Serbia 5-19 December 2023.
T1  - The New Architecture Of The Palace Of Justice In Belgrade : Remodeling The Serbian Built Environment Towards The Spaces Of Inclusivity
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3751
ER  - 

@conference{
author = "Mađanović, Milica and Ereš, Davor",
year = "2023-12-28",
abstract = "The New Architecture of the Palace of Justice in Belgrade:
Remodeling the Serbian Built Environment Towards the Spaces of Inclusivity

Milica Mađanović, Institute for Philosphy and Social Theory, University of Belgrade
Davor Ereš, Institute for Philosphy and Social Theory, University of Belgrade

For decades, the issue of accessibility of the built environment remains one of the key topics
in the societies focused on creation of equitable spaces, appropriate for use of all their citizens. The
Serbian Planning and Construction Law recognizes the necessity of accessibility standards, issuing the
set of accessibility norms and defining them as mandatory technical measures, standards and
conditions of design, planning and construction that ensure unhindered movement and access for
people with disabilities, children and the elderly.
In response to the Reworking architecture/ city thematic stream, this paper aims to explore how
can the remodeling of built environment, more specifically, public buildings, enhance their
functionality for the people for mobility impairments. To do so, it will analyze the case study the
reconstruction (arch. Z. Abadić) of the Palace of Justice in Serbia, a masterpiece originally constructed
in 1973 (architects Z. Žunković and M. Živadinović). The largest judicial facility in Serbia, housing
The High Court in Belgrade, the Chief Public Prosecutor's Office, the criminal department of the
Second Court in Belgrade and the Second Prosecutor's Office, the Palace of Justice was fully renovated
in 2019.
This paper will focus on a specific aspect of the building’s remodeling approach which was
least discussed in terms of architectural contemporaneity – its accessibility. The research discusses the
design strategies employed to make the building accessible to the citizens with mobility impairments.
The paper will answer the following questions – what was successful about the particular design
decisions regarding the Palace of Justice’s accessibility, what could have been done differently – and
why. Ultimately, the paper implores the necessity of reworking Serbian architecture – and public
spaces – to transform them into inclusive environment that could be equally enjoyed by all its citizens.

Keywords: accessibility, Palace of Justice in Belgrade, remodeling, inclusive spaces,
movement equality",
publisher = "STRAND – Sustainable Urban Society Association",
journal = "“On Architecture – Challenges in Design” Conference Proceedings,  The Serbian Academy of Sciences and Arts, Gallery of Science and Technology and Rectorate of the University of Belgrade in Serbia 5-19 December 2023.",
title = "The New Architecture Of The Palace Of Justice In Belgrade : Remodeling The Serbian Built Environment Towards The Spaces Of Inclusivity",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3751"
}

Mađanović, M.,& Ereš, D.. (2023-12-28). The New Architecture Of The Palace Of Justice In Belgrade : Remodeling The Serbian Built Environment Towards The Spaces Of Inclusivity. in “On Architecture – Challenges in Design” Conference Proceedings,  The Serbian Academy of Sciences and Arts, Gallery of Science and Technology and Rectorate of the University of Belgrade in Serbia 5-19 December 2023.
STRAND – Sustainable Urban Society Association..
https://hdl.handle.net/21.15107/rcub_rifdt_3751

Mađanović M, Ereš D. The New Architecture Of The Palace Of Justice In Belgrade : Remodeling The Serbian Built Environment Towards The Spaces Of Inclusivity. in “On Architecture – Challenges in Design” Conference Proceedings,  The Serbian Academy of Sciences and Arts, Gallery of Science and Technology and Rectorate of the University of Belgrade in Serbia 5-19 December 2023.. 2023;.
https://hdl.handle.net/21.15107/rcub_rifdt_3751 .

Mađanović, Milica, Ereš, Davor, "The New Architecture Of The Palace Of Justice In Belgrade : Remodeling The Serbian Built Environment Towards The Spaces Of Inclusivity" in “On Architecture – Challenges in Design” Conference Proceedings,  The Serbian Academy of Sciences and Arts, Gallery of Science and Technology and Rectorate of the University of Belgrade in Serbia 5-19 December 2023. (2023-12-28),
https://hdl.handle.net/21.15107/rcub_rifdt_3751 .

TY  - JOUR
AU  - Ereš, Davor
PY  - 2023
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3124
AB  - Abstract: The state of architecture being exhibited and (re)exposed through formats of public display does not present the central framework of architectural production. However, the condition of exhibiting architecture is opening a set of valuable prospects for the discipline – it creates a specific temporal form of displacement for architecture in which a multifaceted set of connotations and views of this discipline is being provoked. The exhibition and its structure
are understood here primarily as a point in time; a specific temporal form with its own tactics of appearance that make the notion of contemporaneity occur.
Taking the context of the Venice Biennale of Architecture as the most prominent platform for global overview of architectural practice, this paper will reflect on today’s relevance of architecture as an aesthetic discipline related not only to designing (projection and production of architecture), but to its post-production (exhibiting architecture) as well. Claiming that architectural contemporaneity is motivated primarily by the urge for actuality – setting the new emerges as the formative property of the discipline. This paper aims to prove that the specific temporal form of exhibition reveals a proposition for regenerating the competency of architectural discipline. This proposition about being present
manifests itself as a prospect for the immediacy of the discipline, as the qualitative evidence of architecture’s immanency to continuously reconstitute and actualize, maintaining the passage to keep its influence in shaping our world.
PB  - Belgrade: Faculty of Media and Communications, Singidunum University
T2  - AM Journal of Art and Media Studies
T1  - The Influence of Temporality: Exhibiting Architecture and the Prospect of Immediacy of Discipline at the Venice Biennale
IS  - 31
SP  - 11
EP  - 22
DO  - 10.25038/am.v0i29.569
ER  - 

@article{
author = "Ereš, Davor",
year = "2023",
abstract = "Abstract: The state of architecture being exhibited and (re)exposed through formats of public display does not present the central framework of architectural production. However, the condition of exhibiting architecture is opening a set of valuable prospects for the discipline – it creates a specific temporal form of displacement for architecture in which a multifaceted set of connotations and views of this discipline is being provoked. The exhibition and its structure
are understood here primarily as a point in time; a specific temporal form with its own tactics of appearance that make the notion of contemporaneity occur.
Taking the context of the Venice Biennale of Architecture as the most prominent platform for global overview of architectural practice, this paper will reflect on today’s relevance of architecture as an aesthetic discipline related not only to designing (projection and production of architecture), but to its post-production (exhibiting architecture) as well. Claiming that architectural contemporaneity is motivated primarily by the urge for actuality – setting the new emerges as the formative property of the discipline. This paper aims to prove that the specific temporal form of exhibition reveals a proposition for regenerating the competency of architectural discipline. This proposition about being present
manifests itself as a prospect for the immediacy of the discipline, as the qualitative evidence of architecture’s immanency to continuously reconstitute and actualize, maintaining the passage to keep its influence in shaping our world.",
publisher = "Belgrade: Faculty of Media and Communications, Singidunum University",
journal = "AM Journal of Art and Media Studies",
title = "The Influence of Temporality: Exhibiting Architecture and the Prospect of Immediacy of Discipline at the Venice Biennale",
number = "31",
pages = "11-22",
doi = "10.25038/am.v0i29.569"
}

Ereš, D.. (2023). The Influence of Temporality: Exhibiting Architecture and the Prospect of Immediacy of Discipline at the Venice Biennale. in AM Journal of Art and Media Studies
Belgrade: Faculty of Media and Communications, Singidunum University.(31), 11-22.
https://doi.org/10.25038/am.v0i29.569

Ereš D. The Influence of Temporality: Exhibiting Architecture and the Prospect of Immediacy of Discipline at the Venice Biennale. in AM Journal of Art and Media Studies. 2023;(31):11-22.
doi:10.25038/am.v0i29.569 .

Ereš, Davor, "The Influence of Temporality: Exhibiting Architecture and the Prospect of Immediacy of Discipline at the Venice Biennale" in AM Journal of Art and Media Studies, no. 31 (2023):11-22,
https://doi.org/10.25038/am.v0i29.569 . .

TY  - CONF
AU  - Ereš, Davor
PY  - 2023
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3141
AB  - The state of architecture being exhibited and (re)exposed through formats of public display does not present the primary framework or medium of architectural production. Therefore, exhibiting architecture creates a specific form/site of displacement for architecture in which a multifaceted set of meanings and
knowledge about architecture as discipline is provoked, forming the platform for re-questioning the relationship between the reference and contemporaneity of architecture.
T1  - The Scope of Contemporaneity: Architecture in-between the Prospect of Postproduction and the Space of Exhibition
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3141
ER  - 

@conference{
author = "Ereš, Davor",
year = "2023",
abstract = "The state of architecture being exhibited and (re)exposed through formats of public display does not present the primary framework or medium of architectural production. Therefore, exhibiting architecture creates a specific form/site of displacement for architecture in which a multifaceted set of meanings and
knowledge about architecture as discipline is provoked, forming the platform for re-questioning the relationship between the reference and contemporaneity of architecture.",
title = "The Scope of Contemporaneity: Architecture in-between the Prospect of Postproduction and the Space of Exhibition",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3141"
}

Ereš, D.. (2023). The Scope of Contemporaneity: Architecture in-between the Prospect of Postproduction and the Space of Exhibition. .
https://hdl.handle.net/21.15107/rcub_rifdt_3141

Ereš D. The Scope of Contemporaneity: Architecture in-between the Prospect of Postproduction and the Space of Exhibition. 2023;.
https://hdl.handle.net/21.15107/rcub_rifdt_3141 .

Ereš, Davor, "The Scope of Contemporaneity: Architecture in-between the Prospect of Postproduction and the Space of Exhibition" (2023),
https://hdl.handle.net/21.15107/rcub_rifdt_3141 .

TY  - CONF
AU  - Bogdanović, Ana
AU  - Ereš, Davor
PY  - 2018
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3142
PB  - Rome : Bibliotheca Hertzina, Max Planck Institute for Art History
C3  - Exhibiting (and) History
T1  - Exhibition as a temporal form: the case of the Venice Biennale
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3142
ER  - 

@conference{
author = "Bogdanović, Ana and Ereš, Davor",
year = "2018",
publisher = "Rome : Bibliotheca Hertzina, Max Planck Institute for Art History",
journal = "Exhibiting (and) History",
title = "Exhibition as a temporal form: the case of the Venice Biennale",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3142"
}

Bogdanović, A.,& Ereš, D.. (2018). Exhibition as a temporal form: the case of the Venice Biennale. in Exhibiting (and) History
Rome : Bibliotheca Hertzina, Max Planck Institute for Art History..
https://hdl.handle.net/21.15107/rcub_rifdt_3142

Bogdanović A, Ereš D. Exhibition as a temporal form: the case of the Venice Biennale. in Exhibiting (and) History. 2018;.
https://hdl.handle.net/21.15107/rcub_rifdt_3142 .

Bogdanović, Ana, Ereš, Davor, "Exhibition as a temporal form: the case of the Venice Biennale" in Exhibiting (and) History (2018),
https://hdl.handle.net/21.15107/rcub_rifdt_3142 .

TY  - GEN
AU  - Ereš, Davor
AU  - Stamenović, Pavle
AU  - Mojsilović, Mila
AU  - Morošan, Maja
PY  - 2015
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3143
PB  - Belgrade : Poligon
T2  - Outside : A second Look at Competition Projects, Exhibition catalogue
T1  - Look Outside - Seeking for Difference
SP  - 6
EP  - 9
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3143
ER  - 

@misc{
author = "Ereš, Davor and Stamenović, Pavle and Mojsilović, Mila and Morošan, Maja",
year = "2015",
publisher = "Belgrade : Poligon",
journal = "Outside : A second Look at Competition Projects, Exhibition catalogue",
title = "Look Outside - Seeking for Difference",
pages = "6-9",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3143"
}

Ereš, D., Stamenović, P., Mojsilović, M.,& Morošan, M.. (2015). Look Outside - Seeking for Difference. in Outside : A second Look at Competition Projects, Exhibition catalogue
Belgrade : Poligon., 6-9.
https://hdl.handle.net/21.15107/rcub_rifdt_3143

Ereš D, Stamenović P, Mojsilović M, Morošan M. Look Outside - Seeking for Difference. in Outside : A second Look at Competition Projects, Exhibition catalogue. 2015;:6-9.
https://hdl.handle.net/21.15107/rcub_rifdt_3143 .

Ereš, Davor, Stamenović, Pavle, Mojsilović, Mila, Morošan, Maja, "Look Outside - Seeking for Difference" in Outside : A second Look at Competition Projects, Exhibition catalogue (2015):6-9,
https://hdl.handle.net/21.15107/rcub_rifdt_3143 .

TY  - CONF
AU  - Ereš, Davor
AU  - Mitrović, Jelena
PY  - 2015
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3128
AB  - This paper will give an interpretation of lasting, wavering state of modernity in the perspective of architectural thought and practice. Looking at contemporaneity as a phenomenon related to the status of aesthetics, the paper will try to outline an ongoing spin of modernity by viewing the present aspirations of architectural design that are being contradicted by the time itself. According to Marshall Berman’s study, the experience of modernity can be divided into three phases, whereby the latest, which includes the twentieth century, evinces the loss of the initial steam. As far as he sees, modernity has forwent a great deal of its capacity to organize and give meaning to people’s lives: - As results of all this we find ourselves today in the mist of modern age that has lost touch with the roots of its own modernity. Thirty years after Berman’s observation, Zygmunt Bauman reaffirms the unstable nature of modernity by comparing the processes inside the cultural systems up to the very end of the past century. Pointing out that modernism is an unfinished project he introduces the term late modernity in order to imprint the development of global modernity in the circumstances inherent to the society of today. Since the mid-1990s, the fixed, hardware modernisms should have turned into more dynamic, software state, emphasizing the generally heightened sense of uncertainty and ambivalence. From the point of view of the present moment, through this paper we will prove that uncertainty of consecutive modernisms evinces today in the notion of ambivalence; architecturally speaking, the appearances of contingency take us to the physical environment where the vivid experience of modernity is incessantly being confronted with the ontological call for the truth. The paper will argue that in-between this inner confrontation of modernisms and the modernistic urge for representation (of the solid body-idea of modernity) dissolution of consecutive modernisms appears. Such emergence of (disperse) reality is referred to as the aspect of plasticity of modernism. Through the case of Venice Architecture Biennale 2014, latest event acquainted on the global scale, the paper will discuss the mechanism of appearance and exposure of plasticity in display of one hundred years of architectural idealism. Stressing the consistent, prevailing exclusivity of the architectural practices, the observation reaches the aesthetic roots of plasticity of modernism. It brings into the focus the modernistic rupture with the roots of its own modernity, connecting its totality of aesthetic paradigm with the present-day exceptional and uncommunicative status of the architectural object. Nevertheless, inside the mechanism of expose, the appearances and objects set free from totality, becoming agency of plasticity and unbound architectural background.
PB  - Belgrade : University, Faculty of Architecture : Society for Aesthetics of Architecture and Visual Arts Serbia (DEAVUS)
C3  - Revisions of Modern Aesthetics International Scientific Conference, Belgrade, 2015, Book of abstracts
T1  - Dispersion of Stylistic Modernisms: Hundred Years of Plasticity (Case study of Venice Architectural Biennale 2014)
SP  - 1568
EP  - 1578
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3128
ER  - 

@conference{
author = "Ereš, Davor and Mitrović, Jelena",
year = "2015",
abstract = "This paper will give an interpretation of lasting, wavering state of modernity in the perspective of architectural thought and practice. Looking at contemporaneity as a phenomenon related to the status of aesthetics, the paper will try to outline an ongoing spin of modernity by viewing the present aspirations of architectural design that are being contradicted by the time itself. According to Marshall Berman’s study, the experience of modernity can be divided into three phases, whereby the latest, which includes the twentieth century, evinces the loss of the initial steam. As far as he sees, modernity has forwent a great deal of its capacity to organize and give meaning to people’s lives: - As results of all this we find ourselves today in the mist of modern age that has lost touch with the roots of its own modernity. Thirty years after Berman’s observation, Zygmunt Bauman reaffirms the unstable nature of modernity by comparing the processes inside the cultural systems up to the very end of the past century. Pointing out that modernism is an unfinished project he introduces the term late modernity in order to imprint the development of global modernity in the circumstances inherent to the society of today. Since the mid-1990s, the fixed, hardware modernisms should have turned into more dynamic, software state, emphasizing the generally heightened sense of uncertainty and ambivalence. From the point of view of the present moment, through this paper we will prove that uncertainty of consecutive modernisms evinces today in the notion of ambivalence; architecturally speaking, the appearances of contingency take us to the physical environment where the vivid experience of modernity is incessantly being confronted with the ontological call for the truth. The paper will argue that in-between this inner confrontation of modernisms and the modernistic urge for representation (of the solid body-idea of modernity) dissolution of consecutive modernisms appears. Such emergence of (disperse) reality is referred to as the aspect of plasticity of modernism. Through the case of Venice Architecture Biennale 2014, latest event acquainted on the global scale, the paper will discuss the mechanism of appearance and exposure of plasticity in display of one hundred years of architectural idealism. Stressing the consistent, prevailing exclusivity of the architectural practices, the observation reaches the aesthetic roots of plasticity of modernism. It brings into the focus the modernistic rupture with the roots of its own modernity, connecting its totality of aesthetic paradigm with the present-day exceptional and uncommunicative status of the architectural object. Nevertheless, inside the mechanism of expose, the appearances and objects set free from totality, becoming agency of plasticity and unbound architectural background.",
publisher = "Belgrade : University, Faculty of Architecture : Society for Aesthetics of Architecture and Visual Arts Serbia (DEAVUS)",
journal = "Revisions of Modern Aesthetics International Scientific Conference, Belgrade, 2015, Book of abstracts",
title = "Dispersion of Stylistic Modernisms: Hundred Years of Plasticity (Case study of Venice Architectural Biennale 2014)",
pages = "1568-1578",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3128"
}

Ereš, D.,& Mitrović, J.. (2015). Dispersion of Stylistic Modernisms: Hundred Years of Plasticity (Case study of Venice Architectural Biennale 2014). in Revisions of Modern Aesthetics International Scientific Conference, Belgrade, 2015, Book of abstracts
Belgrade : University, Faculty of Architecture : Society for Aesthetics of Architecture and Visual Arts Serbia (DEAVUS)., 1568-1578.
https://hdl.handle.net/21.15107/rcub_rifdt_3128

Ereš D, Mitrović J. Dispersion of Stylistic Modernisms: Hundred Years of Plasticity (Case study of Venice Architectural Biennale 2014). in Revisions of Modern Aesthetics International Scientific Conference, Belgrade, 2015, Book of abstracts. 2015;:1568-1578.
https://hdl.handle.net/21.15107/rcub_rifdt_3128 .

Ereš, Davor, Mitrović, Jelena, "Dispersion of Stylistic Modernisms: Hundred Years of Plasticity (Case study of Venice Architectural Biennale 2014)" in Revisions of Modern Aesthetics International Scientific Conference, Belgrade, 2015, Book of abstracts (2015):1568-1578,
https://hdl.handle.net/21.15107/rcub_rifdt_3128 .

TY  - CONF
AU  - Stamenović, Pavle
AU  - Predić, Dunja
AU  - Ereš, Davor
PY  - 2014
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3125
AB  - Abstract: A nine-minute film, directed by architects Charles and Ray Eames, “Powers of Ten” visualized for the first time the journey through the different scales of existence - from outer space to the space of the atom. This film inspired the Keyhole Project, which, twenty years later, became Google Earth, a (non) commercial online tool for surveying the surface of Earth, making those intriguing images from the 1970s part of our everyday life. Today, as Google Earth counts more than one billion downloads per year, Felix Baumgartner experienced zoom-out mode in physical space, launching himself into the stratosphere. This new overview of the planet that is provided to us by Google Earth virtually, Felix Baumgartner for the first time experienced in physical space; he sky-jumped from the height of estimated 39,000 m, proving that one can actually see the Earth as simulated by Google Earth. Humanity gained a new glance, an overview towards the territory of Earth. This paper argues that this transformation of the nature of the vista provokes the emergence of new modes of perception, cognition and experience of space and place specific to the emerging era (thus provoking new modes of production of space). This paper raises questions regarding the case of the Google Earth program and it’s impact on spatial perception in the context of architectural discourse.
PB  - University of Belgrade – Faculty of Architecture
C3  - International Academic Conference on Places and Technologies, Places and Technologies 2014
T1  - Transparency of scale: geographical information program (Google Earth) and the view from beyond
SP  - 970
EP  - 977
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3125
ER  - 

@conference{
author = "Stamenović, Pavle and Predić, Dunja and Ereš, Davor",
year = "2014",
abstract = "Abstract: A nine-minute film, directed by architects Charles and Ray Eames, “Powers of Ten” visualized for the first time the journey through the different scales of existence - from outer space to the space of the atom. This film inspired the Keyhole Project, which, twenty years later, became Google Earth, a (non) commercial online tool for surveying the surface of Earth, making those intriguing images from the 1970s part of our everyday life. Today, as Google Earth counts more than one billion downloads per year, Felix Baumgartner experienced zoom-out mode in physical space, launching himself into the stratosphere. This new overview of the planet that is provided to us by Google Earth virtually, Felix Baumgartner for the first time experienced in physical space; he sky-jumped from the height of estimated 39,000 m, proving that one can actually see the Earth as simulated by Google Earth. Humanity gained a new glance, an overview towards the territory of Earth. This paper argues that this transformation of the nature of the vista provokes the emergence of new modes of perception, cognition and experience of space and place specific to the emerging era (thus provoking new modes of production of space). This paper raises questions regarding the case of the Google Earth program and it’s impact on spatial perception in the context of architectural discourse.",
publisher = "University of Belgrade – Faculty of Architecture",
journal = "International Academic Conference on Places and Technologies, Places and Technologies 2014",
title = "Transparency of scale: geographical information program (Google Earth) and the view from beyond",
pages = "970-977",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3125"
}

Stamenović, P., Predić, D.,& Ereš, D.. (2014). Transparency of scale: geographical information program (Google Earth) and the view from beyond. in International Academic Conference on Places and Technologies, Places and Technologies 2014
University of Belgrade – Faculty of Architecture., 970-977.
https://hdl.handle.net/21.15107/rcub_rifdt_3125

Stamenović P, Predić D, Ereš D. Transparency of scale: geographical information program (Google Earth) and the view from beyond. in International Academic Conference on Places and Technologies, Places and Technologies 2014. 2014;:970-977.
https://hdl.handle.net/21.15107/rcub_rifdt_3125 .

Stamenović, Pavle, Predić, Dunja, Ereš, Davor, "Transparency of scale: geographical information program (Google Earth) and the view from beyond" in International Academic Conference on Places and Technologies, Places and Technologies 2014 (2014):970-977,
https://hdl.handle.net/21.15107/rcub_rifdt_3125 .

TY  - CONF
AU  - Mitrović, Jelena
AU  - Ereš, Davor
AU  - Stamenović, Pavle
PY  - 2013
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3146
AB  - This paper will question contemporary contingencies of scenery, arguing that overall image of landscape holds fluidity that overcomes limits of any particular structure. It issues the post-industrial landscape of Bor, the town situated upon one of the biggest copper mining grounds in Europe with continuous infrastructural flow for the purpose of copper mining development. Relation between architecture and landscape will be interpreted through wider scope of perspective in terms of morphology, structure and infrastructure. This paper argues that infrastructure and ground should be perceived as single matter, with the aim to construct a contemporary sensibility towards perceiving nature itself.
C3  - Proceedings Of The Expotunnel International Conference, 17-19 October 2013, Bologna
T1  - Architecture Between Landscape And Infrastructure: Tilva Roš – Red Hill Of Bor 44° 5ʹ 32.68ʹʹ N, 22° 6ʹ 04.55ʹʹ E
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3146
ER  - 

@conference{
author = "Mitrović, Jelena and Ereš, Davor and Stamenović, Pavle",
year = "2013",
abstract = "This paper will question contemporary contingencies of scenery, arguing that overall image of landscape holds fluidity that overcomes limits of any particular structure. It issues the post-industrial landscape of Bor, the town situated upon one of the biggest copper mining grounds in Europe with continuous infrastructural flow for the purpose of copper mining development. Relation between architecture and landscape will be interpreted through wider scope of perspective in terms of morphology, structure and infrastructure. This paper argues that infrastructure and ground should be perceived as single matter, with the aim to construct a contemporary sensibility towards perceiving nature itself.",
journal = "Proceedings Of The Expotunnel International Conference, 17-19 October 2013, Bologna",
title = "Architecture Between Landscape And Infrastructure: Tilva Roš – Red Hill Of Bor 44° 5ʹ 32.68ʹʹ N, 22° 6ʹ 04.55ʹʹ E",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3146"
}

Mitrović, J., Ereš, D.,& Stamenović, P.. (2013). Architecture Between Landscape And Infrastructure: Tilva Roš – Red Hill Of Bor 44° 5ʹ 32.68ʹʹ N, 22° 6ʹ 04.55ʹʹ E. in Proceedings Of The Expotunnel International Conference, 17-19 October 2013, Bologna.
https://hdl.handle.net/21.15107/rcub_rifdt_3146

Mitrović J, Ereš D, Stamenović P. Architecture Between Landscape And Infrastructure: Tilva Roš – Red Hill Of Bor 44° 5ʹ 32.68ʹʹ N, 22° 6ʹ 04.55ʹʹ E. in Proceedings Of The Expotunnel International Conference, 17-19 October 2013, Bologna. 2013;.
https://hdl.handle.net/21.15107/rcub_rifdt_3146 .

Mitrović, Jelena, Ereš, Davor, Stamenović, Pavle, "Architecture Between Landscape And Infrastructure: Tilva Roš – Red Hill Of Bor 44° 5ʹ 32.68ʹʹ N, 22° 6ʹ 04.55ʹʹ E" in Proceedings Of The Expotunnel International Conference, 17-19 October 2013, Bologna (2013),
https://hdl.handle.net/21.15107/rcub_rifdt_3146 .

TY  - CHAP
AU  - Stamenović, Pavle
AU  - Mitrović, Jelena
AU  - Ereš, Davor
PY  - 2013
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3129
PB  - Tallinn: Estonian Centre of Architecture
T2  - Tallinn Architecture Biennale: Recycling Socialism Catalogue
T1  - Architecture in Translation
SP  - 117
EP  - 120
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3129
ER  - 

@inbook{
author = "Stamenović, Pavle and Mitrović, Jelena and Ereš, Davor",
year = "2013",
publisher = "Tallinn: Estonian Centre of Architecture",
journal = "Tallinn Architecture Biennale: Recycling Socialism Catalogue",
booktitle = "Architecture in Translation",
pages = "117-120",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3129"
}

Stamenović, P., Mitrović, J.,& Ereš, D.. (2013). Architecture in Translation. in Tallinn Architecture Biennale: Recycling Socialism Catalogue
Tallinn: Estonian Centre of Architecture., 117-120.
https://hdl.handle.net/21.15107/rcub_rifdt_3129

Stamenović P, Mitrović J, Ereš D. Architecture in Translation. in Tallinn Architecture Biennale: Recycling Socialism Catalogue. 2013;:117-120.
https://hdl.handle.net/21.15107/rcub_rifdt_3129 .

Stamenović, Pavle, Mitrović, Jelena, Ereš, Davor, "Architecture in Translation" in Tallinn Architecture Biennale: Recycling Socialism Catalogue (2013):117-120,
https://hdl.handle.net/21.15107/rcub_rifdt_3129 .

TY  - CONF
AU  - Mitrović, Jelena
AU  - Ereš, Davor
AU  - Stamenović, Pavle
PY  - 2013
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3117
AB  - Abstract: This paper will question the condition of transforming and deforming of the city, both in spatial terms and in relation to duration, arguing that such transformations are layered, synthetical and, above all, not linear but elastic (reversible). It addresses two relating issues: the space of a city and
the space of a motion picture. The cityscape of Bor will be discussed through recent films - Tilva Roš (The Red Hill; 2010), Beli, beli svet (White, White World; 2010) and a documentary Beli, beli Bor (White, White Pine; 2011) - depicting a particular social and physical reality within different forms of urban life.
The movies are taken as case studies for establishing theoretical ground for architectural position. They offer a defined visual and philosophical interpretation of the openness of the ground: the perception of protagonists with a shifted relation towards space and time anticipating the possibilities in the social, economic and physical constraints of declining industrial and urban
landscape of the settlement of Bor. The paper will be structured through three parallel topics: Scenography of shrinking, Filters of the ground and Elasticity of urban life.
PB  - Thessaloniki : Grafima Publ.
C3  - Proceedings of the International Conference on “Changing Cities“: Spatial, morphological, formal & socio-economic dimensions
T1  - Copper Grounds: Melting Point of the City of Bor, Serbia
SP  - 1568
EP  - 1577
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3117
ER  - 

@conference{
author = "Mitrović, Jelena and Ereš, Davor and Stamenović, Pavle",
year = "2013",
abstract = "Abstract: This paper will question the condition of transforming and deforming of the city, both in spatial terms and in relation to duration, arguing that such transformations are layered, synthetical and, above all, not linear but elastic (reversible). It addresses two relating issues: the space of a city and
the space of a motion picture. The cityscape of Bor will be discussed through recent films - Tilva Roš (The Red Hill; 2010), Beli, beli svet (White, White World; 2010) and a documentary Beli, beli Bor (White, White Pine; 2011) - depicting a particular social and physical reality within different forms of urban life.
The movies are taken as case studies for establishing theoretical ground for architectural position. They offer a defined visual and philosophical interpretation of the openness of the ground: the perception of protagonists with a shifted relation towards space and time anticipating the possibilities in the social, economic and physical constraints of declining industrial and urban
landscape of the settlement of Bor. The paper will be structured through three parallel topics: Scenography of shrinking, Filters of the ground and Elasticity of urban life.",
publisher = "Thessaloniki : Grafima Publ.",
journal = "Proceedings of the International Conference on “Changing Cities“: Spatial, morphological, formal & socio-economic dimensions",
title = "Copper Grounds: Melting Point of the City of Bor, Serbia",
pages = "1568-1577",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3117"
}

Mitrović, J., Ereš, D.,& Stamenović, P.. (2013). Copper Grounds: Melting Point of the City of Bor, Serbia. in Proceedings of the International Conference on “Changing Cities“: Spatial, morphological, formal & socio-economic dimensions
Thessaloniki : Grafima Publ.., 1568-1577.
https://hdl.handle.net/21.15107/rcub_rifdt_3117

Mitrović J, Ereš D, Stamenović P. Copper Grounds: Melting Point of the City of Bor, Serbia. in Proceedings of the International Conference on “Changing Cities“: Spatial, morphological, formal & socio-economic dimensions. 2013;:1568-1577.
https://hdl.handle.net/21.15107/rcub_rifdt_3117 .

Mitrović, Jelena, Ereš, Davor, Stamenović, Pavle, "Copper Grounds: Melting Point of the City of Bor, Serbia" in Proceedings of the International Conference on “Changing Cities“: Spatial, morphological, formal & socio-economic dimensions (2013):1568-1577,
https://hdl.handle.net/21.15107/rcub_rifdt_3117 .

TY  - CHAP
AU  - Sekulić, Dubravka
AU  - Predić, Dunja
AU  - Ereš, Davor
PY  - 2009
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3144
PB  - Belgrade : Museum of Contemporary Art
T2  - Differentiated Neighbourhoods of New Belgrade: Project of the Centre for Visual Culture at the MoCAB
T1  - We Ask Architects Who Are Asked: Ask Those Asked about New Belgrade
SP  - 134
EP  - 141
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3144
ER  - 

@inbook{
author = "Sekulić, Dubravka and Predić, Dunja and Ereš, Davor",
year = "2009",
publisher = "Belgrade : Museum of Contemporary Art",
journal = "Differentiated Neighbourhoods of New Belgrade: Project of the Centre for Visual Culture at the MoCAB",
booktitle = "We Ask Architects Who Are Asked: Ask Those Asked about New Belgrade",
pages = "134-141",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3144"
}

Sekulić, D., Predić, D.,& Ereš, D.. (2009). We Ask Architects Who Are Asked: Ask Those Asked about New Belgrade. in Differentiated Neighbourhoods of New Belgrade: Project of the Centre for Visual Culture at the MoCAB
Belgrade : Museum of Contemporary Art., 134-141.
https://hdl.handle.net/21.15107/rcub_rifdt_3144

Sekulić D, Predić D, Ereš D. We Ask Architects Who Are Asked: Ask Those Asked about New Belgrade. in Differentiated Neighbourhoods of New Belgrade: Project of the Centre for Visual Culture at the MoCAB. 2009;:134-141.
https://hdl.handle.net/21.15107/rcub_rifdt_3144 .

Sekulić, Dubravka, Predić, Dunja, Ereš, Davor, "We Ask Architects Who Are Asked: Ask Those Asked about New Belgrade" in Differentiated Neighbourhoods of New Belgrade: Project of the Centre for Visual Culture at the MoCAB (2009):134-141,
https://hdl.handle.net/21.15107/rcub_rifdt_3144 .